A Generation (1955)

To tell you the truth, I really don't remember much about A Generation. That's what sticks out most about it, in my memory, the fact that I don't remember it. It's hard to say why. Maybe, because it blends in much with all of the coming-of-age-through-underground-resistance-groups films that have been made over the years. Maybe it's because it's not particularly engaging, at least nowhere near other, more remarkable Criterion releases. Which is a shame, because Ashes and Diamonds, also by Wajda, is so radical and memorable.

Not that A Generation is a bad movie, by any means, it's just wholly underwhelming. It's Wajda's first feature, so it can be cut some slack. It's a pretty entertaining movie, in general. The main character, Stach, was pretty entertaining and relatable, although he did strike me as pretty naive about everything. Essentially, he joined the Resistance just because he was interested in a girl who was a part of it. There are a few very good scenes, the cover of the Criterion disc mirrors one in particular. Also, the earlier scenes where Stach gets a job were comical and fairly enjoyable, lending some brevity to the film, early on.

But, other than that, I just don't remember.

Hiroshima, Mon Amour (1959)

Hiroshima, Mon Amour opens with close-ups of two people making love. We see their arms, hands, elbows, backs. The man tells her that she saw nothing in Hiroshima. She argues that she saw everything, and begins to list things she saw there; hospitals, the museum, the suffering, the victims. We're shown rough, newsreel-style, documentary footage of what she's describing, intercut with shots of her hands caressing and stroking his bare back. This harrowing, depressing scene lasts for 15 minutes, never showing either person's face. The man continually denies that she saw anything in Hiroshima, but she tells him otherwise. Suddenly, the camera pans up to show her face, smiling, as she tells him he has beautiful skin. They both begin laughing, uncontrollably.

It's a strange scene, and sets things up perfectly for the rest of this great film. Because the scene shifts so suddenly, and we didn't see their faces once while they were talking about Hiroshima, you have to wonder about it all. Was it a dream? Maybe it was an internal dialogue, things they wish they could have said? And why did he keep telling her that she saw nothing, because she really didn't see anything, of course? Was she killing the mood? Why not just stroke her gently and reassure her? It's a complex, enigmatic film, in which the audience is never given the entire story, not even close.

It's a film that deals with war, and the suffering and pain that comes along with it. Other films have dealt with this subject, but they're always far more political, they have a much larger scale. Resnais shows how the bombing has affected two people, and only two people, over a decade after the fact. These two still carry their memories around, their scars and anguish that they've never had the luxury of sharing with another. The woman starts off playfully, sharing that she's leaving Hiroshima the next day. She seems uncaring and fickle. Yet, you realize that she's just protecting herself, since she lost her German lover in the war and has never really coped with it.

Resnais editing is unusual in the picture, but extremely well-done. In the early scenes, he uses both slow fades and direct cutting. During moments of romance and beauty, the scenes fade into black, then slowly fade back into the new scenes. Concordantly, in moments where strife or doubt arise, the cuts between scenes are direct and more jarring. This style gives the scenes that fade a very lyrical, very romantic feel. Likewise, the direct cutting gives those scenes more tension and serve to disorient the viewer more than a fade would. However, somewhere around the middle of the film, Resnais seems to slip the two around, as the more romantic scenes are cut directly and the scenes of emotional pain and anguish fade into one another. I'm not entirely sure of Resnais intentions, but maybe it's showing that tension arises out of love, and their romance will lead to heartbreak. Whereas the conflict between them are becoming necessary, to avoid attachment.

The script is incredible. The dialogue is extremely effective and very thought-provoking. Sometimes, certain phrases are so strange, but wholly appropriate and beautiful, that they stick in your mind. The entire film is like that, actually, very unconventional, even for a Nouvelle Vogue film (or at least, a precursor). The performances are, as they say, pitch-perfect as Riva and Okada reach incredible emotional depths and range throughout the film. There are a few scenes that are immeasurably romantic, with a number of amazing lines being spoken. A good example is when the woman is walking through the streets of Hiroshima all alone, she pleads with him in her own head to disfigure her as he wishes, so nobody else will be able to understand his desire. That one really struck me.

One of the underlying themes of the film is history repeating itself, which judging from my only other Resnais film, Night and Fog, is one of his favorites. The end of Night and Fog insists that the holocaust was a tragedy, yes, but if we're not careful to learn from our mistakes, it could easily be one repeated again. Hiroshima, Mon Amour suggests this as well, briefly, regarding the bombing. Though, the more prevalent use of this theme deals with the love and eventual loss that they both feel. Both the man and the woman are so afraid to become attached, because they know that they will just have to say goodbye, again, forever. That's where the conflict arises, they're both torn between the indomitable love growing, and their own personal anguish over the potential of once again losing that love.

This one, in my book, is a must-have. It's one of the most beautiful, sensuous, thought-provoking films in existence. I can't wait to dive into the sure-to-be-awesome supplements on the Criterion disc. You know, even though they'll disprove everything I just said.

Nuovo Cinema Paradiso - Director's Cut (1989)

For the most part, I really liked Cinema Paradiso. I've never seen it before, so I decided to go with the Director's Cut, since it's supposed to be closest to Tornatore's original vision. I liked Legend of 1900, even though it's unavailable in the US, aside from the highly truncated 125-minute cut. Didn't want to make the same mistake twice, ya know.

So, Cinema Paradiso was really good. Very sentimental, touching, entertaining, warm, just about all you'd want in a movie. It's biggest fault is its own schmaltz. For the most part, it's "quality schmaltz" as Mr. Weinberg would say, bot there are quite a few moments when it's so overbearing that it makes you say "oh, come on!" The other big personal peeve I had with the movie is when Elena enters Salvatore's life. Now, I'm all for a good romance, and I'll be the first to get choked up when it's well done. But, I just can't buy someone falling madly in love with a girl based on her being beautiful, and making small talk for a couple of minutes in total. Call me cynical, but I ain't buying it. But then again, I nearly forgot all about it when they kissed in the projection room. Awww...

I thought that it would be one of those movies about movies, where being a film fanatic and beliving in the magic of cinema would be necessary to understanding and feeling something for the film, but that's not the case. It's presented in such a way that anybody can see the magical qualities that the cinema can hold for some. There's also plenty of humor littered here and there to lighten the tone, and to relax the viewer's jaw muscles from time to time.

One thing I picked up on was the ending montage, of all the kissing edited from the films shown at the Paradiso. The entire scene is supposed to make you recall memories of Salvatore and Elena's kiss in the rain, as shown on the cover. The moment is one of the central images at the hearty of the film, and the final sequence makes you leave the movie with that image in mind, whether subliminally or otherwise.

Princess Mononoke/Mononoke-hime (1997)

I don't know what took me so long, but I finally saw Mononoke and I loved it. I'm pretty late getting into Miyazaki, but I'm definitely diving into his canon with gusto. I've only previously seen Spirited Away, but I really liked the unbridled imagination behind it, and the incredibly creative ideas and fantastic elements within. Mononoke is no different.

Miyazaki's imagination has an almost magical quality, and from the first moments of one of his films, you're drawn into an entirely different world, which parallels our own in some ways, but is completely fantastic and whimsical in many others. He creates another world that, despite being so very different from ours, we understand completely. The worlds of Mononoke and Spirited Away have their own sets of rules, their own laws, their own wonderfully created characters and their own immersive, detailed visual styles. When watching a Miyazaki film, I can't help falling in love and wanting to share it with everybody I know, with an open, imaginative mind. If I ever end up having some rascals of my own, I plan on exposing them to Miyazaki at a very early age.

Though Miyazaki's work is whimsical and full of wonder and awe, it always contains a deep, underlying message that stays with you long after the credits roll. Mononoke is an allegorical fable. At its heart, it's about man versus nature. Its message is that of Reggio's brilliant Koyaanisqatsi, or Life Out of Balance. Mononoke isn't preachy, it shows both sides of the battle, each with their own views and sympathetic qualities.

It's hard to talk about Princess Mononoke without geeking out about how much I loved it. Hey, remember that one part in the beginning where that huge mass of wormy things crawls up, and it's this huge boar underneath? That was awesome. What about when the Deer God first appears and the Kodama all start rattling their heads around and the 5.1 surrounds you and it's eerily beautiful? Oh yeah, remember that one part where Sen is all running around on the rooftops, all crazy-like? And they she has that badass duel with Lady Eboshi? That rocked.

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Continuing with my Wajda/BBO babbling...I recieved Discs 2 and 3 of the Andrzej Wajda set yesterday. As luck would have it, both discs 2 and 3 ended up being disc 1 - A Generation. Two copies of the disc, neither of which were in the correct sleeve. I emailed BBO explaining everything to them, just hoping that it helps other customers who want the Wajda films, but I doubt they'll care.

The Testament of Dr. Mabuse (1933)

I really don't know what I expected from Dr. Mabuse. Maybe, a standard crime drama? Maybe some kind of early psychological thriller? Perhaps a combination of the two? One thing I didn't expect it to be, for one reason or another, was amazing. Yet, here I am, proclaiming Dr. Mabuse to be just that.

I really don't know how to describe it. It's mostly a psychological crime drama, with heavy supernatural elements. But, it's just such a creative, inventive film. Many times I was surprised at what happened next, just because these films all seem to follow a preset path. But, it's great to have a breath of fresh air. The supernatural element adds a very unexpected element to the plot. For instance, where Tom and Lilli get trapped in the room, or Dr. Mabuse's possession, or just plain Dr. Mabuse himself.

In many ways, it's a frightening movie. Its 'horror' is derived from the overall unsettling mood that is always present. This is pretty much THE expressionist movie, a heavy influence on lighting and mood in gangster/noir films. The lighting, camerawork and set designs are all at work, visually expressing the characters' states of mind.

This one's going to stay with me for a while. Awesome movie, it's going on my DVDAF wishlist right now. Great A/V, German flicks from 1933 just SHOULDN'T look this good, but Criterion's pact with the devil has produced stunning results again. Two discs of extras, too. Droooooool...

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Also, something to file under "General DVD Nerd grumbling"

I use Blockbuster Online, or at least I will for another few weeks. A while back, a friend recommended Andrzej Wajda's Ashes and Diamonds, which is the final film in the Andrzej Wajda - Three War Films set from Criterion. Blockbuster carries them, but only as the Three War Films box set, not individually. But, you can get the discs separately, so it's cool. I put disc 3 in my queue and they send it, and I love the film. So, I recently added discs 1 and 2 to my queue, because I want to get my Wajda on. Recieved disc 1 in the mail today and guess what, it's Ashes and goddamned Diamonds again! So, I put disc 3 on top of my queue, reported that it was the wrong disc, and had them send me the movie from the top of my queue, being disc 3 of the Wajda set. Disc 2 is on its way to me, probably arriving tomorrow, and disc 3 should ship out soon. I only wonder, what the hell will I get this time?

The Adventures of Robin Hood (1938)

Robin Hood is a blast. There, I said it. It's Hollywood escapism at its finest, yet never pretends to be anything but. And, in that respect, it succeeds admirably. It's full of great characters, witty dialogue, cool swashbuckling swordplay, charisma and a breathless sense of adventure. Exploding with color, it's a joy to watch. Warner's 2-disc set does an amazing job of recreating the original eye-popping technicolor, as the above link will show. Awesome flick.

Hearts and Minds (1974)

I'll admit that I don't know much about the Vietnam War. History, in general, has a tendency to bore me. I always go in with the best intentions, ready and eager to learn, but after a little while, I'm just bored by names and places and times and facts. Hey, I wish it was different, but that's the way things are. So, that said, I didn't know much about the Vietnam War going into Hearts and Minds. That may or may not color my viewpoint, but I think it's one of the best documentaries that I've ever seen.

It does a great job of examining many aspects of the war, of our nature, of the Vietnamese way of life, all without shying away. It shows the effects of war like nothing else before, without resorting to many shock tactics found elsewhere. And yet, it has a heavy emotional resonance that just may have swayed even the most devoted war-mongerers.

Hearts and Minds shows quite a bit of the 'why' of the war through interviews and film historical footage. The blanks are filled in through subtext, such as seemingly unrelated footage from a High School football game. Beforehand, the coach gives the players a rousing speech, and encourages them to go out there and kill em'. That's when you realize that this is more than a documentary on a war and its effects. This is about our nature, as Americans and as humans overall.

It's an emotional experience. It will make you sad, frustrated, angry and disgusted. It will make you want to leap to your feet and make a difference. Many will think that the message is lost today, since the Vietnam War is more than 30 years in the past. But, look at recent events in America, look at wars being fought, unprovoked. Look at the killer instinct still inherent in the people in power today. Hearts and Minds is just as powerful today.

Prozac Nation (2001/2005)

I first read about Prozac Nation, must have been years ago now. I was interested in it because I really liked Erik Skjoldbjærg's first film, Insomnia (which later got remade by Chris Nolan, starring Al Pacino and Hilary Swank). Also, I was interested in the subject matter, depression and the treatment of it. Not to mention, I'm a fan of Christina Ricci's, but what red-blooded man isn't? So, I waited and waited, mostly forgetting about it, while Miramax shelved it for a number of reasons. Finally, it was shown on pay-television, and just got a DVD release.

I'm really pleased with the way the film turned out, especially pleased with how the subject matter was handled. The main character, Lizzie, is going to school at Harvard in the 1980's, and she develops depression. When you have depression, you're very unlikable, and the filmmakers never pull any punches in showing this. There's one great scene involving Liz and her Mother, in which she starts lashing out at her, then collapses in her arms, feeling sad and remorseful. As soon as it starts, the remorse ends and gives way to anger, as she begins screaming at her Mother again. This is a situation that many people going through depression, or those close to somebody who is, can definitely relate to.

At first, I thought the movie would be terrible, because Liz gets to Harvard and immediately starts drinking, partying and doing drugs. I started arguing with myself if this was plausible, since somebody who's depressed would isolate themselves and not behave like this. But, on the other hand, there's the tendency to self-medicate, so it could just be her way of dealing with it. Soon after, the main aspect of the story comes into place, and only then does the real depression manifest itself. She becomes exhausted, even as soon as she awakes, without ever really doing much of anything. She lashes out at those closest to her, those trying to help her. She really begins to isolate herself, but at the same time, crying out for somebody to save her.

She finds salvation in a nice, innocent boy who goes to her school. He's wonderful to her, listens to her, supports her with a lot of patience. Like most people with depression who meet somebody wonderful, kind and patient, she puts him on a pedestal, claiming he's her salvation. Obviously, this isn't healthy, because you can't depend on somebody else for your own happiness. You can see what's going to happen, and you wish you could warn her. Not because you particularly like her, but because you can relate to her, at heart.

Obviously, as the title implies, the movie deals with anti-depressant medication, namely Prozac. It's a subject that's always hotly under debate. My beliefs are very middle-of-the-road, I believe that they're helpful to some, while they may not work for others. Some are whole-heartedly supportive, while others vehemently oppose their existence. I couldn't be happier to see the film take a great stance on the issue (read: the one I agree with). It doesn't have to be a permanant thing, and in most cases, it just acts as a crutch, letting those who need it clear their heads and deal with the root causes.

It's not a preachy film, I'm glad to say. It takes a very laissez-faire approach, in that it doesn't attempt to sway the viewer, it simply presents the facts in an honest and straightforward way and lets you make your own decisions on how to feel. Those who have depression aren't the only ones suffering, as they almost always lash out at those who care about them. It's not a very easy film to watch, but I'd highly recommend it for anybody, especially those interested in, or willing to learn more about mental disorders, such as depression, and its treatment.

Edit: I just remembered that I wanted to mention Miramax's TERRIBLE marketing job on the film. Look no further than the DVD cover. No, it's not some sex-romp with Christina Ricci, it's a harrowing journey into the mind of a young woman suffering mental illness. It brings to mind Miramax's other great marketing cover for Amelie Gets Naked (aka Dirty Pretty Things) which is actually about underground organ trading in London. Go figure.